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色彩观察

色彩调色板

  • #CFBBA2
  • #B39D82
  • #D3C0A7
  • #C2AE94
  • #CCB395
  • #DBC6AA

各色彩的大致占比

  • #CFBBA219.8%
  • #B39D8219.8%
  • #D3C0A717.3%
  • #C2AE9416.3%
  • #CCB39513.6%
  • #DBC6AA13.2%

根据博物馆图像中的六组色彩估算,包含可见纸张或边框。复制方式和光照会影响结果;这里显示的是图像面积占比,而非颜料用量。

Grace Rainey Rogers Fund · 克利夫兰艺术博物馆
图像:公共领域(CC0)· 博物馆记录与图像来源 ↗

Iran, Tabriz, Ilkhanid period (1256-1353) · 1330–35

巴赫拉姆·古尔来到商人家中:《大蒙古王书》文字页(正面)

博物馆未记录创作者

年代
1330–35
材料与技法
opaque watercolor, ink, and gold on paper
尺寸
Sheet: 45.8 x 34.4 cm (18 1/16 x 13 9/16 in.); Image: 19.5 x 29.5 cm (7 11/16 x 11 5/8 in.); Text area: 41 x 29.5 cm (16 1/8 x 11 5/8 in.)
国家 / 文化背景
伊朗
流派 / 艺术传统
伊朗艺术
馆藏
克利夫兰艺术博物馆
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馆藏说明(英文原文)

In this intense painting, Bahram Gur plunges his sword into the breast of a dragon. A favorite character from Iran's pre-Islamic history, Bahram Gur (reigned 420–38 CE) was a popular ruler of the Sasanian dynasty and a great hunter. He took the name "Gur," meaning onager (a wild ass), because it was his preferred game, although he also excelled at killing dragons. As evidenced by this illustration's rock formations, tree trunk, and dragon, Iranian painting in the Mongol period borrowed numerous stylistic and spatial elements from Chinese models. With the surging landscape and writhing dragon rendered with equal energy, this is a picture of extraordinary unity and concentration.

馆藏文字 · 克利夫兰艺术博物馆 · CC0
停下来,看一看

从眼前可见之处开始:形状、表面、色彩与尺度。所列材料可能怎样影响作品的制作方式与观看体验?

观看提示 · 邀请你观察,而非对历史的定论。
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